Hi everyone. This wiki is our place for keeping all the listening materials and assignments organized. Please check in every day.
Note 1: During this course, you have permission to check out the keys to the practice rooms in the library lower level, rooms 13-18. Enjoy!
Note 2: There is a $15 lab fee for this course, which is due this Wednesday, March 23. Please bring cash or a check made out to MUM Music. If you cannot pay the fee by this date, come and talk to me right away.
My contact information: 641-233-7003; imatzkin@mum.edu
Instructions: Work in your designated groups. Keep the chant simple and devotional, stay mainly on 3 pitches, use repetition, and return to the tonic at the end. You may keep a drone on the tonic if you'd like. The text should be sacred text from an ancient language (not English). Below are a few examples, but you may use any sacred text of your choice.
Cherokee:
Wen-day ya ho Heyah ho = God is within Spirit, it is so
Arabic:
Barak Allah Feek = God bless you
Allah Akbar = God is great
Greek:
Kyrie Eleison = Lord have mercy
Hebrew:
Sh'ma Yisrael Adonai Eloheinu Adonai Echad = Hear Israel, the Lord is our God, the Lord is One
Alleluia = Praise the Lord
Turkish:
Bir Ben Var Bende Benden Iceri = There is an I inside of me that is deeper than I
Vedic:
Aham Brahmasmi = I am Totality
Yata Pinde Tatha Brahmande = The individual is cosmic
Vasudhaiva Kutumbakam = The world is my family
Universal:
Amen
Creative assignment 2 (group)
Compose a rhythmical piece that alternates between a refrain and a composed or improvised verse. Both refrain and verse are very short -- just 4 beats or so.
Creative assignment 3 (group)
Compose a polyphonic song that combines at least 2 separate melodies.
Creative assignment 4 (individual)
Compose a piece that is built on the chords of the major scale - especially the major chords I, IV, and V. If you feel comfortable, you may also use the chords built on the other steps of the scale -- the minor chords ii, iii, vi, and the diminished vii*. Vary the chords by using rhythmic patterns, arpeggios, different octaves, etc.
Creative assignment 5 (group)
Compose a group piece that includes movement as well as melody and/or rhythm. All the members interact with each other, so the movement of the group flows as one.
HOMEWORK
Homework number 1
Listen to the chants from all over the world and write the following:
For each example, indicated whether it is monophonic or polyphonic (it could have sections of each)
For each example, indicate whether the melody has a strong, easily identifiable tonic or not
Write a one-paragraph definition of the musical concept of 'tonic' in terms of Maharishi Vedic Science. Feel free to look at your syllabus for inspiration, but write it in your own words.
Homework number 2
Listen to the examples of the Renaissance period. No writing was assigned this day.
Homework number 3
To get a feel for the Baroque period, listen to at least a few minutes of each of the Baroque examples. Many of the pieces will sound familiar to you. You'll find them everywhere -- on youtube, grooveshark, etc. Pay attention to the following: clear harmonies, strong cadences, instrumentation very different from Renaissance: many modern orchestral instruments such as the violin, viola, cello, bass, silver flute, oboe, brass instruments, harpsichord, organ. Then write a paragraph about your experience of the course so far -- pick any part you like -- and relate it to Maharishi Vedic Science.
Homework number 4
Listen to the examples of the classical period. Write your MVS paragraph on this term: refinement. What does it mean in terms of perception and transcending?
Homework number 5
Study for the midterm. Get together with friends and quiz each other on compositional techniques and stylistic characteristics.
Here are the main areas to listen for:
Melody
Is there a monophonic melody, or are there two or more melodies interweaving? Do you hear the melody cadencing on tonic? Is there a clear structure to the melodic phrases? Do you hear melodic techniques such as imitation, parallel motion, contrary motion, or inversion? Is there a drone or chordal accompaniment?
Harmony
Do you hear chords? Do they cadence (resolve) on tonic?
Rhythm
Is there a steady beat you can tap to, or do you hear a pulse that is subservient to the text, or is there no beat at all?
Instrumentation
Listen for male or female voices, strings, woodwinds, brass, and percussion instruments, including harpsichord and piano. Remember that the small, portable instruments (fiddle, lute, small drum, recorder (wooden flute) are characteristic of Renaissance; the harpsichord and big brass brought about the Baroque era; and the piano was added during Classicism.
Dynamics
Listen for the overall volume. Is there a strong, full orchestral sound? Listen for crescendo and diminuendo. Are there few changes (the first 4 eras) or is there a wide range of dynamic subtleties (classicism)?
Homework number 6
Listen to the pieces from the Romantic period and get a feeling for this music. Listen to previous periods as necessary, to compare and contrast. No writing for this one.
Homework number 7
Listen to the pieces from the 20th century and get a feeling for this music. Listen to previous periods as necessary, to compare and contrast. No writing for this one.
Homework number 8 and 9: 20th Century Main Points chart
REMEMBER: There is no need to make this chart complicated. Simple is more profound.
Anyone can make the simple complicated. Creativity is making the complicated simple.
-- Charles Mingus
(Thanks, Danny, for the quote!)
It's easier to work in groups of 2 or more, but you may do this individually if you prefer. Refer to the documents at the top of this wiki page. Create a main point chart for the 20th century. Use the other 6 charts as your model. Start with the title, MVS subtitle, names of prominent composers, then HISTORICAL CONTEXT (brief; include new technologies for music). For MUSICAL CHARACTERISTICS, write a brief paragraph for each of the following:
Impressionism
Jazz
Exploring the limits of tonality
Atonality
New Applications for tonalit
Music as an abstract concept
Then write the 5 points of the unity chart.
Hard copy is fine, but i prefer to receive this as an email attachment.
Chants from all over the world
7 MAJOR STYLISTIC PERIODS
Plainchant
Gregorian Chant fits in this category, as well as the monophonic chants by Hildegard von Bingen. Note that even when you hear a non-changing drone along with a single melody, this is still considered monophony.
Early Polyphony
Search for compositions by Leonin and Perotin on Grooveshark and youtube.
Renaissance
light, playful, simple, becoming clearly tonal with more and more obvious chords and harmonic cadences
So far, we've studied mostly works from the late Renaissance, when chords and cadences -- the signs of tonal harmony -- are quite well established. Also notice the instrumentation and rhythm.
I just found this delightful madrigal by John Dowland, performed by Sting:
This is a mass by Palestrina, the name of one of the most important composers of the Renaissance era. Again listen for chords and cadences. They are more subtle here, but they are there.
Baroque
powerful, majestic, stable, grounding
This is the Halleluiah Chorus from the 'Messiah' by Handel. Notice the instruments and the sheer number of musicians:
Here is Bach's concerto for two violins -- first the original, then the same melody and harmonies, but jazzed up. Bach somehow manages to sound good on just about any instruments in any style. Bach is a favorite with Jazz musicians:
Other great Baroque works:
Barbara Strozzi: Begli Occhi Albinoni: Adagio in D minor Pachelbel: Canon in D Handel: Water Music J. S. Bach: Orchestral Suite No. 2 - Air Jesu, Joy of Man's Desiring Toccata And Fugue In D Minor, BWV 565
Classicism
subtle, refined, light, playful
Classicism: subtle, refined, light, playful Here is Mozart's piano concerto No. 21, Andante, "Elvira Madigan". Notice the general quality of subtlety and lightness, even in this slow movement. The feeling tends to be softer and more playful than Baroque. This is achieved partly by the new instrument, the piano, and its great range of subtlety. Also listen for the sense of lightness created by the rhythm of the chords in the accompaniment. Watch them as they go by in the notation. And all this is of course tonal harmony, with obvious chords and cadences supporting gorgeous melodies.
Now watch "Eine kleine Nachtmusik", also by Mozart. You'll hear the same style of refined, uplifting chordal accompaniment underneath a playful melody, only faster and livelier:
Listen for the Alberti Bass here and watch the left hand:
Here are other works representing Classicism. In the piano pieces, listen for the Alberti bass.
Mozart: Piano Concerto #23 In A, K 488 - Adagio clarinet concerto Sonata In A: Rondo Alla Turca Soave sia il vento from Cosi Fan Tutte La Ci Darem La Mano From Don Giovanni Ah vous dirai-je Maman variations
Hadyn: “Surprise” Symphony No. 94 “The Clock” Symphony
Below is the Kyrie from Mozart's mass in C minor. It's heavier than the previous pieces because the song is a solemn prayer -- "Kyrie Eleison" means "Lord, have mercy." But listen carefully to the accompaniment and you'll hear the distinctive, refined touch of classicism.
And the playfulness of Mozart comes through very well on root beer bottles!
Romanticism
powerful, yearning to experience the full range of expression of emotion
Here is a gem to get you started. Notice how that little girl pulls your heartstrings in all directions, not because she's little and cute, but because she is so expressively shaping each note, each trill, sometimes holding the beat back a bit and then accelerating again at the right moments. That's typical for a lot of romantic works.
Here is your listening list. Yes, I know it's a lot, so just listen to about 30 seconds of most pieces and get a delightful tour of Romanticism.
Pick your favorites to hear to the end. I was going to place stars by my favorites, but I starred nearly all of them...
Alexander Borodin: Prince Igor - Polovtsian Dance No. 17 Johannes Brahms: Lullaby Symphony No. 3 In F Major, Third Movement Hungarian Dance No. 5 Camille Saint-Saëns: The Swan; The Aquarium; from Carnival of Animals Gluck: Orfeo ed Eurydice Edvard Grieg: Morning Mood from Peer Gynt Suite; Piano Concerto In A Minor Felix Mendelssohn: Italian Symphony, 4th Movement Wedding March, from A Midsummer Night's Dream Franz Liszt: Liebestraum La Campanella Hungarian Rhapsody No. 2 Franz Schubert: Trout Quintet Unfinished Symphony no. 8 Ave Maria Chopin: Nocturne Op. 9 No. 2 Etude No. 12 in C minor: “Revolutionary” Sibelius: Finlandia Hymn (sung by Sweet Honey in the Rock)
Beethoven: Für Elise Moonlight Sonata 1st Movement 5th Symphony 1st Movement 6th Symphony 2nd Movement 7th Symphony 1st Movement 9th Symphony Chorale: Ode to Joy (Freude, schöner Götterfunken) Tchaikovsky: The Nutcracker – Dance of the Sugar Plum Fairies Swan Lake – Waltz Sleeping Beauty - Waltz Romeo & Juliet - Theme II Piano Concerto No. 1 - Opening Schumann: The Wild Horseman Berlioz: Damnation Of Faust Bizet: Carmen, Toreador Song from Habanera
Fauré: Pavane Leoncavallo: Pagliacci - Vesti la giubba Mascagni: Cavalleria Rusticana - Intermezzo Prokofiev: Romeo & Juliet - Montagues & Capulets Puccini: Turandot - Nessun Dorma 1 Rachmaninoff: Piano Concerto No. 2 - Mvmt. II Symphony No. 2 - Mvmt. III - Opening Rhapsody On A Theme by Paganini Rimsky-Korsakov: Flight Of The Bumblebee Rodrigo: Concierto de Aranjuez - Adagio Rossini: The Barber Of Seville - Largo Al Factotum J. Strauss: Blue Danube Waltz Verdi: Il Trovatore - Anvil Chorus Requiem - Dies Irae Rigoletto - La Donna e Mobile Wagner: Lohengrin - Bridal Chorus Die Walküre - Ride Of The Valkyries
20th Century
all possibilities
Debussy
West Javanese Gamelan orchestra
Debussy Prelude to the afternoon of a Faun
Ravel - Bolero
Debussy -- notice the jazz-like qualities here:
Louis Armstrong
Dizzy Gillespie
Gershwin
Gershwin
Schoenberg
Louis Armstrong
Stravinsky - Firebird
Lili Boulanger
Barber - Adagio for Strings
Barber - Agnus Dei (Adagio for Strings, which he later arranged for a choral group)
Welcome to the Music Appreciation Wiki
Music is an intelligent way of moving from one silence to another.
—Jim Hall, American jazz guitarist, b. 1930
NEW DOCUMENTS
Hi everyone. This wiki is our place for keeping all the listening materials and assignments organized. Please check in every day.
Note 1: During this course, you have permission to check out the keys to the practice rooms in the library lower level, rooms 13-18. Enjoy!
Note 2: There is a $15 lab fee for this course, which is due this Wednesday, March 23. Please bring cash or a check made out to MUM Music. If you cannot pay the fee by this date, come and talk to me right away.
My contact information: 641-233-7003; imatzkin@mum.edu
REVISED SCHEDULE:
&
Final Exam
Happy Spring Break!
Course syllabus and main point charts
(you also have these in hard copy)Creative assignment 1 (group)
Compose a devotional chantInstructions: Work in your designated groups. Keep the chant simple and devotional, stay mainly on 3 pitches, use repetition, and return to the tonic at the end. You may keep a drone on the tonic if you'd like. The text should be sacred text from an ancient language (not English). Below are a few examples, but you may use any sacred text of your choice.
Cherokee:
Wen-day ya ho Heyah ho = God is within Spirit, it is so
Arabic:
Barak Allah Feek = God bless you
Allah Akbar = God is great
Greek:
Kyrie Eleison = Lord have mercy
Hebrew:
Sh'ma Yisrael Adonai Eloheinu Adonai Echad = Hear Israel, the Lord is our God, the Lord is One
Alleluia = Praise the Lord
Turkish:
Bir Ben Var Bende Benden Iceri = There is an I inside of me that is deeper than I
Vedic:
Aham Brahmasmi = I am Totality
Yata Pinde Tatha Brahmande = The individual is cosmic
Vasudhaiva Kutumbakam = The world is my family
Universal:
Amen
Creative assignment 2 (group)
Compose a rhythmical piece that alternates between a refrain and a composed or improvised verse. Both refrain and verse are very short -- just 4 beats or so.Creative assignment 3 (group)
Compose a polyphonic song that combines at least 2 separate melodies.Creative assignment 4 (individual)
Compose a piece that is built on the chords of the major scale - especially the major chords I, IV, and V. If you feel comfortable, you may also use the chords built on the other steps of the scale -- the minor chords ii, iii, vi, and the diminished vii*. Vary the chords by using rhythmic patterns, arpeggios, different octaves, etc.Creative assignment 5 (group)
Compose a group piece that includes movement as well as melody and/or rhythm. All the members interact with each other, so the movement of the group flows as one.HOMEWORK
Homework number 1
Listen to the chants from all over the world and write the following:
Homework number 2
Listen to the examples of the Renaissance period. No writing was assigned this day.
Homework number 3
To get a feel for the Baroque period, listen to at least a few minutes of each of the Baroque examples. Many of the pieces will sound familiar to you. You'll find them everywhere -- on youtube, grooveshark, etc.
Pay attention to the following:
clear harmonies, strong cadences, instrumentation very different from Renaissance: many modern orchestral instruments such as the violin, viola, cello, bass, silver flute, oboe, brass instruments, harpsichord, organ.
Then write a paragraph about your experience of the course so far -- pick any part you like -- and relate it to Maharishi Vedic Science.
Homework number 4
Listen to the examples of the classical period.
Write your MVS paragraph on this term: refinement. What does it mean in terms of perception and transcending?
Homework number 5
Study for the midterm. Get together with friends and quiz each other on compositional techniques and stylistic characteristics.
Here are the main areas to listen for:
Melody
Is there a monophonic melody, or are there two or more melodies interweaving? Do you hear the melody cadencing on tonic? Is there a clear structure to the melodic phrases? Do you hear melodic techniques such as imitation, parallel motion, contrary motion, or inversion? Is there a drone or chordal accompaniment?Harmony
Do you hear chords? Do they cadence (resolve) on tonic?Rhythm
Is there a steady beat you can tap to, or do you hear a pulse that is subservient to the text, or is there no beat at all?Instrumentation
Listen for male or female voices, strings, woodwinds, brass, and percussion instruments, including harpsichord and piano. Remember that the small, portable instruments (fiddle, lute, small drum, recorder (wooden flute) are characteristic of Renaissance; the harpsichord and big brass brought about the Baroque era; and the piano was added during Classicism.Dynamics
Listen for the overall volume. Is there a strong, full orchestral sound? Listen for crescendo and diminuendo. Are there few changes (the first 4 eras) or is there a wide range of dynamic subtleties (classicism)?Homework number 6
Listen to the pieces from the Romantic period and get a feeling for this music. Listen to previous periods as necessary, to compare and contrast. No writing for this one.
Homework number 7
Listen to the pieces from the 20th century and get a feeling for this music. Listen to previous periods as necessary, to compare and contrast. No writing for this one.
Homework number 8 and 9: 20th Century Main Points chart
REMEMBER: There is no need to make this chart complicated. Simple is more profound.
Anyone can make the simple complicated. Creativity is making the complicated simple.
-- Charles Mingus(Thanks, Danny, for the quote!)
It's easier to work in groups of 2 or more, but you may do this individually if you prefer. Refer to the documents at the top of this wiki page. Create a main point chart for the 20th century. Use the other 6 charts as your model. Start with the title, MVS subtitle, names of prominent composers, then HISTORICAL CONTEXT (brief; include new technologies for music). For MUSICAL CHARACTERISTICS, write a brief paragraph for each of the following:
Impressionism
Jazz
Exploring the limits of tonality
Atonality
New Applications for tonalit
Music as an abstract concept
Then write the 5 points of the unity chart.
Hard copy is fine, but i prefer to receive this as an email attachment.
Chants from all over the world
7 MAJOR STYLISTIC PERIODS
Plainchant
Gregorian Chant fits in this category, as well as the monophonic chants by Hildegard von Bingen. Note that even when you hear a non-changing drone along with a single melody, this is still considered monophony.
Early Polyphony
Search for compositions by Leonin and Perotin on Grooveshark and youtube.
Renaissance
light, playful, simple, becoming clearly tonal with more and more obvious chords and harmonic cadences
So far, we've studied mostly works from the late Renaissance, when chords and cadences -- the signs of tonal harmony -- are quite well established. Also notice the instrumentation and rhythm.
I just found this delightful madrigal by John Dowland, performed by Sting:
Satolstelamanderfanz - A German Renaissance music group from Super Acht on Vimeo.
Renaissance Music at Lincoln Castle from Richard Elen on Vimeo.
This is a mass by Palestrina, the name of one of the most important composers of the Renaissance era. Again listen for chords and cadences. They are more subtle here, but they are there.
Baroque
powerful, majestic, stable, grounding
This is the Halleluiah Chorus from the 'Messiah' by Handel. Notice the instruments and the sheer number of musicians:
Here is Bach's concerto for two violins -- first the original, then the same melody and harmonies, but jazzed up. Bach somehow manages to sound good on just about any instruments in any style. Bach is a favorite with Jazz musicians:
Other great Baroque works:
Barbara Strozzi: Begli Occhi
Albinoni: Adagio in D minor
Pachelbel: Canon in D
Handel: Water Music
J. S. Bach:
Orchestral Suite No. 2 - Air
Jesu, Joy of Man's Desiring
Toccata And Fugue In D Minor, BWV 565
Classicismsubtle, refined, light, playful
Classicism: subtle, refined, light, playful
Here is Mozart's piano concerto No. 21, Andante, "Elvira Madigan".
Notice the general quality of subtlety and lightness, even in this slow movement. The feeling tends to be softer and more playful than Baroque. This is achieved partly by the new instrument, the piano, and its great range of subtlety. Also listen for the sense of lightness created by the rhythm of the chords in the accompaniment. Watch them as they go by in the notation. And all this is of course tonal harmony, with obvious chords and cadences supporting gorgeous melodies.
Now watch "Eine kleine Nachtmusik", also by Mozart. You'll hear the same style of refined, uplifting chordal accompaniment underneath a playful melody, only faster and livelier:
Listen for the Alberti Bass here and watch the left hand:
Here are other works representing Classicism. In the piano pieces, listen for the Alberti bass.
Mozart:
Piano Concerto #23 In A, K 488 - Adagio
clarinet concerto
Sonata In A: Rondo Alla Turca
Soave sia il vento from Cosi Fan Tutte
La Ci Darem La Mano From Don Giovanni
Ah vous dirai-je Maman variations
Hadyn:
“Surprise” Symphony No. 94
“The Clock” Symphony
Below is the Kyrie from Mozart's mass in C minor. It's heavier than the previous pieces because the song is a solemn prayer -- "Kyrie Eleison" means "Lord, have mercy." But listen carefully to the accompaniment and you'll hear the distinctive, refined touch of classicism.
And the playfulness of Mozart comes through very well on root beer bottles!
Romanticism
powerful, yearning to experience the full range of expression of emotion
Here is a gem to get you started. Notice how that little girl pulls your heartstrings in all directions, not because she's little and cute, but because she is so expressively shaping each note, each trill, sometimes holding the beat back a bit and then accelerating again at the right moments. That's typical for a lot of romantic works.
Here is your listening list. Yes, I know it's a lot, so just listen to about 30 seconds of most pieces and get a delightful tour of Romanticism.
Pick your favorites to hear to the end. I was going to place stars by my favorites, but I starred nearly all of them...
Alexander Borodin: Prince Igor - Polovtsian Dance No. 17
Johannes Brahms: Lullaby
Symphony No. 3 In F Major, Third Movement
Hungarian Dance No. 5
Camille Saint-Saëns: The Swan; The Aquarium; from Carnival of Animals
Gluck: Orfeo ed Eurydice
Edvard Grieg: Morning Mood from Peer Gynt Suite; Piano Concerto In A Minor
Felix Mendelssohn: Italian Symphony, 4th Movement
Wedding March, from A Midsummer Night's Dream
Franz Liszt: Liebestraum
La Campanella
Hungarian Rhapsody No. 2
Franz Schubert: Trout Quintet
Unfinished Symphony no. 8
Ave Maria
Chopin: Nocturne Op. 9 No. 2
Etude No. 12 in C minor: “Revolutionary”
Sibelius: Finlandia Hymn (sung by Sweet Honey in the Rock)
Beethoven: Für Elise
Moonlight Sonata 1st Movement
5th Symphony 1st Movement
6th Symphony 2nd Movement
7th Symphony 1st Movement
9th Symphony Chorale: Ode to Joy (Freude, schöner Götterfunken)
Tchaikovsky: The Nutcracker – Dance of the Sugar Plum Fairies
Swan Lake – Waltz
Sleeping Beauty - Waltz
Romeo & Juliet - Theme II
Piano Concerto No. 1 - Opening
Schumann: The Wild Horseman
Berlioz: Damnation Of Faust
Bizet: Carmen, Toreador Song from Habanera
Fauré: Pavane
Leoncavallo: Pagliacci - Vesti la giubba
Mascagni: Cavalleria Rusticana - Intermezzo
Prokofiev: Romeo & Juliet - Montagues & Capulets
Puccini: Turandot - Nessun Dorma 1
Rachmaninoff: Piano Concerto No. 2 - Mvmt. II
Symphony No. 2 - Mvmt. III - Opening
Rhapsody On A Theme by Paganini
Rimsky-Korsakov: Flight Of The Bumblebee
Rodrigo: Concierto de Aranjuez - Adagio
Rossini: The Barber Of Seville - Largo Al Factotum
J. Strauss: Blue Danube Waltz
Verdi: Il Trovatore - Anvil Chorus
Requiem - Dies Irae
Rigoletto - La Donna e Mobile
Wagner: Lohengrin - Bridal Chorus
Die Walküre - Ride Of The Valkyries
20th Century
all possibilities
Debussy
West Javanese Gamelan orchestra
Debussy Prelude to the afternoon of a Faun
Ravel - Bolero
Debussy -- notice the jazz-like qualities here:
Louis Armstrong
Dizzy Gillespie
Gershwin
Gershwin
Schoenberg
Louis Armstrong
Stravinsky - Firebird
Lili Boulanger
Barber - Adagio for Strings
Barber - Agnus Dei (Adagio for Strings, which he later arranged for a choral group)
Philip Glass
Aaron Copland
Bèla Bartók
Tan Dun
Carl Orff
Symphony for Youtube
Arvo Pärt
Alan Hovhaness